GHUNGHARU or PAAYAL
Ghungharu are the "tinklebells" or "jingle bells" which are used to adorn the feet of dancers. When tied to the feet, they are played by the act of dancing. They may also be played by hand. This instrument evolved from the payal which are traditional anklets worn by women in India.
The terms payal and ghungharu are nearly interchangeable; there is but a slight difference in the colour of the word. Whereas the term ghungharu evokes an image of the musical or dance performance, the term payal evokes the image of a mere adornment of the feet. The term payal shows up repeatedly in song and poetry in northern India where it is said to be an indication of a girl's comings and goings, her dancing, and a general joyous mood of the wearer.
There are two common forms of the ghungharu. The traditional form is merely a number of bells woven together on a string. However today it is common to find them stitched to a padded cushion. This may then be strapped to the feet of a dancer. Both forms are shown in the accompanying illustration.
Ghungharu are the "tinklebells" or "jingle bells" which are used to adorn the feet of dancers. When tied to the feet, they are played by the act of dancing. They may also be played by hand. This instrument evolved from the payal which are traditional anklets worn by women in India.
The terms payal and ghungharu are nearly interchangeable; there is but a slight difference in the colour of the word. Whereas the term ghungharu evokes an image of the musical or dance performance, the term payal evokes the image of a mere adornment of the feet. The term payal shows up repeatedly in song and poetry in northern India where it is said to be an indication of a girl's comings and goings, her dancing, and a general joyous mood of the wearer.
There are two common forms of the ghungharu. The traditional form is merely a number of bells woven together on a string. However today it is common to find them stitched to a padded cushion. This may then be strapped to the feet of a dancer. Both forms are shown in the accompanying illustration.
GAYAKI - NORTH INDIAN VOCAL MUSIC
The vocal tradition is especially strong in Indian music. It goes without saying that the song is probably the most ancient form of music. Vocal music occupies a considerable part of the Natya Shastra.
One may argue that the Vedas, especially the Samaveda, is the oldest musical text in India. It is true that the Samaveda is written in a crude musical notation. However, it is probably more appropriate for us to look at contemporary music.
Contemporary musical forms are built up from very well defined structures. These structures such as a primary theme, a secondary theme and other elements form a structured framework in which a largely improvised system of music can work.
There are many genres, some old and some new. Dhrupad and dhammar are some of the oldest in use today; they go back to the Mogul era (circa 16th century). Equally old, but stylistically quite different, is the tarana; this is based upon meaningless syllables. More modern (by Indian standards) are the highly improvised kheyal, dadra, and thumri. Another classical style is the tappa of Punjab.
Most of the classical songs of north India are devotional in nature, but there are a few genre which are especially oriented toward religion. Most notable is the bhajan, dhun or kirtan for Hindus, the kawali (qawali) for Muslims, and the shabad for Sikhs.
Not all the music is serious, for there are also many popular genres. The gazal is one style which is known for it rich poetic, and romantic content. the Hindi geet is basically just a song. Undoubtedly, the most popular is the film song.
There are also a few genres which are oriented specifically toward musical education. The most notable example is the lakshan geet. In this style the words of the song actually describe the rag which is being performed. Another genre which is used for pedagogic purposes is the swarmalika. This style uses the sargam of the piece instead of words.
India also has a rich tradition of folk music. These will vary from region to region.
VOCAL FORMS
* Kheyal
* Bhajan
* Tarana
* Dhrupad
* Dhammar
* Dadra
* Gazal
* Geet
* Thumri
* qawwali
* Kirtan or Dhun
* Shabad
* Lakshangeet
* Film Songs
* Folk Music
* Swarmalika
The vocal tradition is especially strong in Indian music. It goes without saying that the song is probably the most ancient form of music. Vocal music occupies a considerable part of the Natya Shastra.
One may argue that the Vedas, especially the Samaveda, is the oldest musical text in India. It is true that the Samaveda is written in a crude musical notation. However, it is probably more appropriate for us to look at contemporary music.
Contemporary musical forms are built up from very well defined structures. These structures such as a primary theme, a secondary theme and other elements form a structured framework in which a largely improvised system of music can work.
There are many genres, some old and some new. Dhrupad and dhammar are some of the oldest in use today; they go back to the Mogul era (circa 16th century). Equally old, but stylistically quite different, is the tarana; this is based upon meaningless syllables. More modern (by Indian standards) are the highly improvised kheyal, dadra, and thumri. Another classical style is the tappa of Punjab.
Most of the classical songs of north India are devotional in nature, but there are a few genre which are especially oriented toward religion. Most notable is the bhajan, dhun or kirtan for Hindus, the kawali (qawali) for Muslims, and the shabad for Sikhs.
Not all the music is serious, for there are also many popular genres. The gazal is one style which is known for it rich poetic, and romantic content. the Hindi geet is basically just a song. Undoubtedly, the most popular is the film song.
There are also a few genres which are oriented specifically toward musical education. The most notable example is the lakshan geet. In this style the words of the song actually describe the rag which is being performed. Another genre which is used for pedagogic purposes is the swarmalika. This style uses the sargam of the piece instead of words.
India also has a rich tradition of folk music. These will vary from region to region.
VOCAL FORMS
* Kheyal
* Bhajan
* Tarana
* Dhrupad
* Dhammar
* Dadra
* Gazal
* Geet
* Thumri
* qawwali
* Kirtan or Dhun
* Shabad
* Lakshangeet
* Film Songs
* Folk Music
* Swarmalika
VADHYA SANGEET (INSTRUMENTAL MUSIC)
Instrumental music occupies an important position in Indian music. It is one of the threefold aspects of "sangeet" (vocal music, instrumental music, and dance), and has a very ancient history. Instrumental music is known as "vadhya sangeet".
There is a general tendency for the instrumental styles to follow quite closely the vocal styles. Yet, the degree to which an instrument follows is primarily linked to the dynamics of the instrument.
Dynamics is the nature of the loudness of an instrument. This is not intended to mean loudness in the usual interpretation, but rather the amplitudinal characteristics of the instrument. The sitar and flute offer a good illustration. A flute is continuously excited, therefore there is a steady sound as long as the breath is applied. Since it is possible to sustain a sound for a long time, it is possible to perform all kinds of delicate meends (glissando), gamaks or other ornamentation. Instruments with a long sustain tend to follow the vocal styles in their presentation. Contrast this to a sitar with its rapid decay. The sound is essentially inaudible within a few seconds. Many types of ornamentation cannot be executed due to this quick decay.
This creates an artistic pressure for these instruments to develop their own styles. These styles enhance the strong points while avoiding the weaknesses. Over the years they have become formalized into four major instrumental styles known as: alap, jor, gat and jhala. The alap is a slow rhythmless elaboration upon the rag. The jor is a section that has rhythm but no developed rhythmic cycle (i.e., tal). The gat is the fully developed piece, while the jhala is a fast rhythmic interplay between the drone strings and the main playing strings.
Instrumental music occupies an important position in Indian music. It is one of the threefold aspects of "sangeet" (vocal music, instrumental music, and dance), and has a very ancient history. Instrumental music is known as "vadhya sangeet".
There is a general tendency for the instrumental styles to follow quite closely the vocal styles. Yet, the degree to which an instrument follows is primarily linked to the dynamics of the instrument.
Dynamics is the nature of the loudness of an instrument. This is not intended to mean loudness in the usual interpretation, but rather the amplitudinal characteristics of the instrument. The sitar and flute offer a good illustration. A flute is continuously excited, therefore there is a steady sound as long as the breath is applied. Since it is possible to sustain a sound for a long time, it is possible to perform all kinds of delicate meends (glissando), gamaks or other ornamentation. Instruments with a long sustain tend to follow the vocal styles in their presentation. Contrast this to a sitar with its rapid decay. The sound is essentially inaudible within a few seconds. Many types of ornamentation cannot be executed due to this quick decay.
This creates an artistic pressure for these instruments to develop their own styles. These styles enhance the strong points while avoiding the weaknesses. Over the years they have become formalized into four major instrumental styles known as: alap, jor, gat and jhala. The alap is a slow rhythmless elaboration upon the rag. The jor is a section that has rhythm but no developed rhythmic cycle (i.e., tal). The gat is the fully developed piece, while the jhala is a fast rhythmic interplay between the drone strings and the main playing strings.
INDIAN FOLK MUSIC
India has a very rich tradition of folk music. The extreme cultural diversity creates endless varieties of folk styles. Each region has its own particular style.
There is a tendency to lump folk music along with tribal music. There is actually a difference. Where folk music is a mere rustic reflection of the larger Indian society, tribal music often represents cultures that are very different. Some of these tribal cultures are throwbacks to cultural conditions as they were thousands of years ago.
Tribal and folk music is not taught in the same way that Indian classical music is taught. There is no formal period of apprenticeship where the student is able to devote their entire life to learning the music, the economics of rural life does not permit this sort of thing. The musical practitioners must still attend to their normal duties of hunting, agriculture or whatever their chosen profession is.
Music in the villages is learned almost by osmosis. From childhood the music is heard and imbibed along with ones mother's milk. There are numerous public activities that allow the villagers to practice and hone their skills. These are the normal functions which syncronize village life with the universe.
The music is an indispensable component of functions such as weddings, engagements, and births. There is a plethora of songs for such occasions. There are also many songs associated with planting and harvesting. In these activities the villagers routinely sing of their hopes, fears and aspirations.
Folk music is also used for educational purposes. For instance sex education has traditionally been taught in Andhra Pradesh by song. There is a function when a girl has her first menses. In this function the elderly women in the community gather at the house (men are definitely excluded), the girl is given her first woni and langa (half sari which is worn by unmarried girls), rich food and other gifts. During this function the women sing songs that are extremely bawdy. To an outsider this would seem uncharacteristic of obviously respectable community members. However the function of such songs is to provide the girl's first instructions on her emerging womanhood and what her future marital duties will be.
Musical instruments are often different from those found in classical music. Although instruments like the tabla may sometimes be found it is more likely that cruder drums such as daf, dholak, or nal will be used. The sitar and sarod which are so common in the classical genre are absent in the folk music. One often finds instruments such as the ektar, dotar, saringda, rabab, and santur. Quite often they will not even be called these names, but may be named according to their local dialect. There are also instruments which are used only in particular folk styles in particular regions. These instruments are innumerable.
The instruments that folk musicians use are generally not as refined as the classical musicians use. The instruments of classical music are crafted by artisans whose only job is the fabrication of musical instruments. In contrast the folk instruments are commonly crafted by the musicians themselves.
It is very common to find folk instruments that have been fabricated of commonly available materials. Skin, peritoneum, bamboo, coconut shells, and pots are but a few commonly available materials used to make musical instruments
FOLK MUSICAL INSTRUMENTS
* Bansuri - bamboo flute
* Bombashi - bamboo fipple flute
* Chimpta - fire tongs
* Daf - frame drum
* Damaru - hourglass drum
* Dhol - large barrel drum
* Dholak - barrel drum
* Dholki - barrel drum
* Dotar #1 - simple lute
* Dotar #2 (a.k.a. dotora) - simple lute
* Ektar - simple lute
* Gettuvadyam - hammered lute
* Ghatam - clay pot
* Ghungharu - small bells
* Gopichand - one stringed instrument
* Idakka and Udaku - hourglass drums
* Kamancha - simple fiddle
* Kartal - wooden clappers
* Khol - clay drum
* Magadi Vina - bamboo lute
* Murchang - jaw harp
* Naggada - kettle drums
* Nakula - bamboo lute
* Pena - simple one string bowed instrument
* Pung - drum
* Pungi - snake charmer's instrument
* Rabab - lute
* Ravanhasta - simple fiddle
* Santur - hammered dulcimer
* Saringda - simple fiddle
* Shankh - conch shell
* Thanthi Panai - pot drum
OTHER INDIAN VOCAL FORMS
* Bhajan
* Dadra
* Dhammar
* Dhrupad
* Film Music
* Gazal
* Geet
* Kheyal
* Kirtan / Dhun
* Lakshan Geet
* Qawwali
* Shabad
* Tappa
* Tarana
* Thumri
India has a very rich tradition of folk music. The extreme cultural diversity creates endless varieties of folk styles. Each region has its own particular style.
There is a tendency to lump folk music along with tribal music. There is actually a difference. Where folk music is a mere rustic reflection of the larger Indian society, tribal music often represents cultures that are very different. Some of these tribal cultures are throwbacks to cultural conditions as they were thousands of years ago.
Tribal and folk music is not taught in the same way that Indian classical music is taught. There is no formal period of apprenticeship where the student is able to devote their entire life to learning the music, the economics of rural life does not permit this sort of thing. The musical practitioners must still attend to their normal duties of hunting, agriculture or whatever their chosen profession is.
Music in the villages is learned almost by osmosis. From childhood the music is heard and imbibed along with ones mother's milk. There are numerous public activities that allow the villagers to practice and hone their skills. These are the normal functions which syncronize village life with the universe.
The music is an indispensable component of functions such as weddings, engagements, and births. There is a plethora of songs for such occasions. There are also many songs associated with planting and harvesting. In these activities the villagers routinely sing of their hopes, fears and aspirations.
Folk music is also used for educational purposes. For instance sex education has traditionally been taught in Andhra Pradesh by song. There is a function when a girl has her first menses. In this function the elderly women in the community gather at the house (men are definitely excluded), the girl is given her first woni and langa (half sari which is worn by unmarried girls), rich food and other gifts. During this function the women sing songs that are extremely bawdy. To an outsider this would seem uncharacteristic of obviously respectable community members. However the function of such songs is to provide the girl's first instructions on her emerging womanhood and what her future marital duties will be.
Musical instruments are often different from those found in classical music. Although instruments like the tabla may sometimes be found it is more likely that cruder drums such as daf, dholak, or nal will be used. The sitar and sarod which are so common in the classical genre are absent in the folk music. One often finds instruments such as the ektar, dotar, saringda, rabab, and santur. Quite often they will not even be called these names, but may be named according to their local dialect. There are also instruments which are used only in particular folk styles in particular regions. These instruments are innumerable.
The instruments that folk musicians use are generally not as refined as the classical musicians use. The instruments of classical music are crafted by artisans whose only job is the fabrication of musical instruments. In contrast the folk instruments are commonly crafted by the musicians themselves.
It is very common to find folk instruments that have been fabricated of commonly available materials. Skin, peritoneum, bamboo, coconut shells, and pots are but a few commonly available materials used to make musical instruments
FOLK MUSICAL INSTRUMENTS
* Bansuri - bamboo flute
* Bombashi - bamboo fipple flute
* Chimpta - fire tongs
* Daf - frame drum
* Damaru - hourglass drum
* Dhol - large barrel drum
* Dholak - barrel drum
* Dholki - barrel drum
* Dotar #1 - simple lute
* Dotar #2 (a.k.a. dotora) - simple lute
* Ektar - simple lute
* Gettuvadyam - hammered lute
* Ghatam - clay pot
* Ghungharu - small bells
* Gopichand - one stringed instrument
* Idakka and Udaku - hourglass drums
* Kamancha - simple fiddle
* Kartal - wooden clappers
* Khol - clay drum
* Magadi Vina - bamboo lute
* Murchang - jaw harp
* Naggada - kettle drums
* Nakula - bamboo lute
* Pena - simple one string bowed instrument
* Pung - drum
* Pungi - snake charmer's instrument
* Rabab - lute
* Ravanhasta - simple fiddle
* Santur - hammered dulcimer
* Saringda - simple fiddle
* Shankh - conch shell
* Thanthi Panai - pot drum
OTHER INDIAN VOCAL FORMS
* Bhajan
* Dadra
* Dhammar
* Dhrupad
* Film Music
* Gazal
* Geet
* Kheyal
* Kirtan / Dhun
* Lakshan Geet
* Qawwali
* Shabad
* Tappa
* Tarana
* Thumri
CARNATIC SANGEET- THE SOUTH INDIAN SYSTEM OF MUSIC
INTRODUCTION
Carnatic sangeet, (Karnatik Sangit) is the south Indian system of music. It has a rich history and a very sophisticated theoretical system. The performers and composers have, gained a world class reputation by singing and playing instruments such as veena (vina), gottuvadyam, violin, and mridangam.
In the West, Carnatic Sangeet is not as well known as Hindustani Sangeet (north Indian music). Whenever Westerners think of Indian music, they immediately think of Ravi Shankar and the sitar. Although South Indian music is extremely sophisticated, there has not emerged an artist with the worldwide recognition that North Indians, like Ravi Shankar, have been able to generate.
GEOGRAPHICAL DISTRIBUTION
Carnatic Sangeet is found in the south Indian states of Tamil Nadu, Kerala, Andhra Pradesh and Carnatica. These states are known for their strong presentation of Dravidian culture.
RELATIONSHIP BETWEEN HINDUSTANI AND CARNATIC SANGEET
The reasons for the differentiation between North, and South Indian music is not clear. The generally held belief is that North Indian music evolved along different lines due to an increased exposure to the Islamic world. This results from nearly 800 years of Islamic rule over northern India.
Unfortunately, evidence suggests that this answer is a gross over-simplification. For instance, Kerala has an extremely large Muslim population, but virtually no identification with north Indian music. By the same token, the Islamic influence over Orissa was negligible, yet the artistic forms are clearly identifiable as Hindustani. Although there is a poor correlation between the geographical distribution of Hindus / Muslims and the two musical systems; there is an almost exact correlation between the Indo-European/Dravidian cultures and the two musical systems.
Therefore, we come to the politically uncomfortable, yet inescapable conclusion that the differences between North and South Indian music does not represent a differentiation caused by Islamic influence, but instead represents a continuation of fundamental cultural differences.
HISTORY OF CARNATIC SANGEET
We can begin our discussion of the history of Carnatic Sangeet with Purandardas (1480-1564). He is considered to be the father of Carnatic Sangeet. He is given credit for the codification of the method of education, and is also credited with several thousand songs.
Venkat Mukhi Swami (17th century) is the grand theorist of Carnatic music. He was the one who developed the melakarta system. This is the system for classifying south Indian rags.
Carnatic music really acquired its present form in the 18th century. It was during this period that the "trinity" of Carnatic music, Thyagaraja, Shamashastri, and Muthuswami Dikshitar composed their famous compositions. In addition to our "trinity". Numerous other musicians and composers enriched this tradition. Some notable personalities were; Papanasam Shivan, Gopala Krishna Bharati, Swati Tirunal, Mysore Vasudevachar, Narayan Tirtha, Uttukadu Venkatasubbair, Arunagiri Nathar, and Annamacharya.
CARNATIC MUSIC THEORY
Carnatic music has a very highly developed theoretical system. It is based upon a complex system of ragam (rag) and thalam (tal). These describe the intricacies of the melodic and rhythmic forms respectively.
The melodic foundation is the ragam (rag). Ragam (rag) is basically the scale. The seven notes of the scale are Sa Ri Ga Ma Pa Dha and Ni. However, unlike a simple scale there are certain melodic restrictions and obligations. Each ragam (rag) has a particular way that it moves from note to note.
The ragams are categorised into various modes. These are referred to as mela, and there are 72 in number. The mela are conceptually similar to the thats of North Indian music. There is however, a major difference. South Indian scales allow chromatic forms that are not allowed in Hindustani sangeet. For instance it is perfectly acceptable for the first three notes (i.e., Sa Re Ga to all be roughly one semitone apart. It is these permissible forms which allow there to be so many mela.
The tal (thalam) is the rhythmic foundation to the system. The south Indian tals are defined by a system of clapping and waving, while this is much less important in the north. North Indian musicians define their tals by their theka.
Nomenclature is one of the biggest differences between North and South Indian music. It is normal for a particular rag or tal to be called one thing in the North and something totally different in the South. It is also common for the same name to be applied to very different rags and tals. It is theses differences in nomenclature that have made any theoretical reconciliation difficult.
PERFORMANCE
Vocal music forms the basis of South Indian music. Although there is a rich instrumental tradition that uses vina, venu and violin, they revolve around instrumental renditions of vocal forms.
There are a number of sections to the Carnatic performance. Varanam is a form used to begin many south Indian performances. The word varanam literal means a description and this section is used to unfold the various important features of the ragam. The kritis are a fixed compositions in the rag. They have well identified composers and do not allow much scope for variation. However such compositions are often preceded by alapana. The alapana offers a way to unfold the ragam to the audience, and at the same time, allow the artist considerable scope for improvisation. The niruval and the kalpana swara also provide opportunities to improvise. Another common structure is the ragam, thanam, and, pallavi
South Indian performances are based upon three major sections. These are the pallavi anupallavi and charanam. These roughly correspond to the sthai, antara and the abhog in Hindustani sangeet.
CONCLUSION
The rich tradition of South Indian music is one of the worlds gems. The high performance standards and the well organised theoretical foundation put it on par with anything that world has seen, either East or West.
INSTRUMENTS USED IN SOUTH INDIAN MUSIC
* Thalam (manjira)
* Ghatam
* Murchang
* Venu
* Nadaswaram
* Veena
* Gotthuvadyam
* Thambura (tambura)
* Getchuvadyam
* Violin
* Mridangam
* Tavil
* Ottu
INTRODUCTION
Carnatic sangeet, (Karnatik Sangit) is the south Indian system of music. It has a rich history and a very sophisticated theoretical system. The performers and composers have, gained a world class reputation by singing and playing instruments such as veena (vina), gottuvadyam, violin, and mridangam.
In the West, Carnatic Sangeet is not as well known as Hindustani Sangeet (north Indian music). Whenever Westerners think of Indian music, they immediately think of Ravi Shankar and the sitar. Although South Indian music is extremely sophisticated, there has not emerged an artist with the worldwide recognition that North Indians, like Ravi Shankar, have been able to generate.
GEOGRAPHICAL DISTRIBUTION
Carnatic Sangeet is found in the south Indian states of Tamil Nadu, Kerala, Andhra Pradesh and Carnatica. These states are known for their strong presentation of Dravidian culture.
RELATIONSHIP BETWEEN HINDUSTANI AND CARNATIC SANGEET
The reasons for the differentiation between North, and South Indian music is not clear. The generally held belief is that North Indian music evolved along different lines due to an increased exposure to the Islamic world. This results from nearly 800 years of Islamic rule over northern India.
Unfortunately, evidence suggests that this answer is a gross over-simplification. For instance, Kerala has an extremely large Muslim population, but virtually no identification with north Indian music. By the same token, the Islamic influence over Orissa was negligible, yet the artistic forms are clearly identifiable as Hindustani. Although there is a poor correlation between the geographical distribution of Hindus / Muslims and the two musical systems; there is an almost exact correlation between the Indo-European/Dravidian cultures and the two musical systems.
Therefore, we come to the politically uncomfortable, yet inescapable conclusion that the differences between North and South Indian music does not represent a differentiation caused by Islamic influence, but instead represents a continuation of fundamental cultural differences.
HISTORY OF CARNATIC SANGEET
We can begin our discussion of the history of Carnatic Sangeet with Purandardas (1480-1564). He is considered to be the father of Carnatic Sangeet. He is given credit for the codification of the method of education, and is also credited with several thousand songs.
Venkat Mukhi Swami (17th century) is the grand theorist of Carnatic music. He was the one who developed the melakarta system. This is the system for classifying south Indian rags.
Carnatic music really acquired its present form in the 18th century. It was during this period that the "trinity" of Carnatic music, Thyagaraja, Shamashastri, and Muthuswami Dikshitar composed their famous compositions. In addition to our "trinity". Numerous other musicians and composers enriched this tradition. Some notable personalities were; Papanasam Shivan, Gopala Krishna Bharati, Swati Tirunal, Mysore Vasudevachar, Narayan Tirtha, Uttukadu Venkatasubbair, Arunagiri Nathar, and Annamacharya.
CARNATIC MUSIC THEORY
Carnatic music has a very highly developed theoretical system. It is based upon a complex system of ragam (rag) and thalam (tal). These describe the intricacies of the melodic and rhythmic forms respectively.
The melodic foundation is the ragam (rag). Ragam (rag) is basically the scale. The seven notes of the scale are Sa Ri Ga Ma Pa Dha and Ni. However, unlike a simple scale there are certain melodic restrictions and obligations. Each ragam (rag) has a particular way that it moves from note to note.
The ragams are categorised into various modes. These are referred to as mela, and there are 72 in number. The mela are conceptually similar to the thats of North Indian music. There is however, a major difference. South Indian scales allow chromatic forms that are not allowed in Hindustani sangeet. For instance it is perfectly acceptable for the first three notes (i.e., Sa Re Ga to all be roughly one semitone apart. It is these permissible forms which allow there to be so many mela.
The tal (thalam) is the rhythmic foundation to the system. The south Indian tals are defined by a system of clapping and waving, while this is much less important in the north. North Indian musicians define their tals by their theka.
Nomenclature is one of the biggest differences between North and South Indian music. It is normal for a particular rag or tal to be called one thing in the North and something totally different in the South. It is also common for the same name to be applied to very different rags and tals. It is theses differences in nomenclature that have made any theoretical reconciliation difficult.
PERFORMANCE
Vocal music forms the basis of South Indian music. Although there is a rich instrumental tradition that uses vina, venu and violin, they revolve around instrumental renditions of vocal forms.
There are a number of sections to the Carnatic performance. Varanam is a form used to begin many south Indian performances. The word varanam literal means a description and this section is used to unfold the various important features of the ragam. The kritis are a fixed compositions in the rag. They have well identified composers and do not allow much scope for variation. However such compositions are often preceded by alapana. The alapana offers a way to unfold the ragam to the audience, and at the same time, allow the artist considerable scope for improvisation. The niruval and the kalpana swara also provide opportunities to improvise. Another common structure is the ragam, thanam, and, pallavi
South Indian performances are based upon three major sections. These are the pallavi anupallavi and charanam. These roughly correspond to the sthai, antara and the abhog in Hindustani sangeet.
CONCLUSION
The rich tradition of South Indian music is one of the worlds gems. The high performance standards and the well organised theoretical foundation put it on par with anything that world has seen, either East or West.
INSTRUMENTS USED IN SOUTH INDIAN MUSIC
* Thalam (manjira)
* Ghatam
* Murchang
* Venu
* Nadaswaram
* Veena
* Gotthuvadyam
* Thambura (tambura)
* Getchuvadyam
* Violin
* Mridangam
* Tavil
* Ottu
Popular Posts
-
Palmistry and Yoga mudras Astrology and palmistry have always belonged together. If the practice of the mudras stimulates your interes... -
INDIAN MUSICAL INSTRUMENTS There are many musical instruments in India. Some instruments are used primarily in north Indian music (Hindusta... -
Complete Chart of Mudras- Mudras detailed chart Complete Chart of Mudras- Mudras detailed chart Complete Chart of Yoga Mudras -
GHATAM Ghatam is nothing more than a large clay pot. It is very commonly played in South Indian classical performances. There are two acti... -
--> HASTA PRANALAKSHANA The way a hasta/mudra is held, is divided into 12 Pranalakshana ie 12 different ways of holding a han...
-
Reflex Zones in our body The hand reflex zones correspond to the foot reflex zones, the massage treatment of which is generally known toda... -
Kathak Costumes Kathak is a wonderful blend of Hindu and Muslim culture. So, there are two kinds of costumes in Kathak. We make costumes at ... -
BANSURI AND VENU Bansuri and venu are common Indian flutes. They are typically made of bamboo or reed. There are two varieties; transverse...
